Pianist
Robert Levin
's
Mozart
concerto series made a splash, was interrupted due to label complications, was resumed by the
Academy of Ancient Music
on its own label, and has steadily gained listeners and adherents; this final volume, with
Richard Egarr
conducting the
, made classical best-seller lists in the summer of 2024. As the booklet here puts it, these recordings are "defiantly not 'middle of the road.'"
Levin
's innovations, or eccentricities depending on one's outlook, include improvised cadenzas (which
certainly would have done) and heavy ornamentation of solo piano lines. In a way, this release may present
's method in its best light for those who aren't fully convinced of his approach. The two concertos both have big outer movements, giving
room to structure the density of his ornamentation so that the movements build effectively to a climax; in the more compact middle-period concertos, listeners are hit pretty quickly with shocks. Here, he backs off from the ornaments where he needs to, not losing the marvelous artlessness of the
Piano Concerto No. 27 in B flat major, K. 595
. Other virtues, as with previous volumes in the series, include detailed notes, with contributions explaining the use of
Paul Klee
's artworks in the graphics. There is a note from the piano tuner discussing the fine
Chris Maene Walter
fortepiano replica used here, and there is an especially nice entr'acte from soprano
Louise Alder
in the aria
Ch'io mi scordi di te?, K. 505
, and clear sound from the St. John's Smith Square venue.
's fans are already convinced, but those curious about him could do worse than start with this release. ~ James Manheim